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the computer, keeping detailed records on student performance and using these records in making decisions about what is next to be presented to the student.

In our traditional learning environments, some students learn and some do not. It is this second group of students that we want to help.

problem of almost all modern learning is the lecture, a noninteractive way of learning

, on a moment-to-moment basis, just what the student knows and just what learning problems are occurring

It begins immediately with a question, with no preceding text.

experience the joy of discovery.

tutorial approach to learning makes it possible for everyone to learn.

critical factor is that we can react to individual student problems

key concept for structuring highly interactive learning experiences is the Benjamin Bloom concept of mastery learning.

goal is for everyone to learn everything to the mastery level, grades will no longer be useful

A student who has not learned in one way probably needs a different approach, rather than another go-round with the material that was not previously successful in assisting learning.

In such an environment, learning and evaluation are no longer separate activities but are part of the same process, intimately blended. So the student is not conscious of taking tests, and we avoid the problems of cheating.

highly interactive learning is intrinsically motivating. Motivation is particularly important in a distance-learning environment, since none of the "threats" of the classroom, such as low grades, are available.

mastery-based computer segment could also offer human contact. Small groups could work together, either locally or remotely via electronic communication.

existing authoring systems. Since they were, and still are, mostly directed toward supplying information, these were inadequate for creating highly interactive software.

Bertrand Ibrahim at the University of Geneva,

omputer stores much of the information as the students progress through the material.

Teaching faculty, in the sense that we know them today, may cease to exist, except for in smaller, advanced courses. But their skills and experiences will be important in the design of learning modules.

High costs of development can lead to low costs per student, if many students use the material.

$30,000 per student-hour of high-quality learning material

highly effective highly interactive distance-learning courses would have a large potential market, making them much cheaper per student than current courses, and if well developed, they will be much superior for almost all students

The typical approach is to give some released time to faculty and to give limited support for programming and media production. It is unlikely, almost impossible, that good learning material will be developed this way.

Universities are too stuck in their current ways of doing things to be able to compete with well-developed material from "outside." Most university faculty and administrators do not appreciate the current problems of learning and so are not prepared for these future directions.

the teacher was no longer there to "punish them" or "grade them down". Instead the teacher was there to help them reach their goal. This is much more of an environment built around success and motivation versus failure.

computers are able to do what computers do well. Humans are freed up to do what humans do best.

Assessment needs to be based on where each individual child started and then grew to and finally ended up in a particular year, versus a snapshot once a year view of an entire school

When faculty of a major Chinese university asked Plucker to identify trends in American education, he described our focus on standardized curriculum, rote memorization, and nationalized testing. “After my answer was translated, they just started laughing out loud,” Plucker says. “They said, ‘You’re racing toward our old model. But we’re racing toward your model, as fast as we can.’ ”

The argument that we can’t teach creativity because kids already have too much to learn is a false trade-off. Creativity isn’t about freedom from concrete facts. Rather, fact-finding and deep research are vital stages in the creative process.

When you try to solve a problem, you begin by concentrating on obvious facts and familiar solutions, to see if the answer lies there. This is a mostly left-brain stage of attack. If the answer doesn’t come, the right and left hemispheres of the brain activate together. Neural networks on the right side scan remote memories that could be vaguely relevant. A wide range of distant information that is normally tuned out becomes available to the left hemisphere, which searches for unseen patterns, alternative meanings, and high-level abstractions. Having glimpsed such a connection, the left brain must quickly lock in on it before it escapes. The attention system must radically reverse gears, going from defocused attention to extremely focused attention. In a flash, the brain pulls together these disparate shreds of thought and binds them into a new single idea that enters consciousness. This is the “aha!” moment of insight, often followed by a spark of pleasure as the brain recognizes the novelty of what it’s come up with. Now the brain must evaluate the idea it just generated. Is it worth pursuing? Creativity requires constant shifting, blender pulses of both divergent thinking and convergent thinking, to combine new information with old and forgotten ideas. Highly creative people are very good at marshaling their brains into bilateral mode, and the more creative they are, the more they dual-activate.

those who diligently practice creative activities learn to recruit their brains’ creative networks quicker and better

Creativity has always been prized in American society, but it’s never really been understood. While our creativity scores decline unchecked, the current national strategy for creativity consists of little more than praying for a Greek muse to drop by our houses. The problems we face now, and in the future, simply demand that we do more than just hope for inspiration to strike. Fortunately, the science can help: we know the steps to lead that elusive muse right to our doors.

What’s common about successful programs is they alternate maximum divergent thinking with bouts of intense convergent thinking, through several stages. Real improvement doesn’t happen in a weekend workshop. But when applied to the everyday process of work or school, brain function improves.

kids demonstrated the very definition of creativity: alternating between divergent and convergent thinking, they arrived at original and useful ideas. And they’d unwittingly mastered Ohio’s required fifth-grade curriculum—from understanding sound waves to per-unit cost calculations to the art of persuasive writing. “You never see our kids saying, ‘I’ll never use this so I don’t need to learn it,’ ” says school administrator Maryann Wolowiec. “Instead, kids ask, ‘Do we have to leave school now?’ ” Two weeks ago, when the school received its results on the state’s achievement test, principal Traci Buckner was moved to tears. The raw scores indicate that, in its first year, the school has already become one of the top three schools in Akron, despite having open enrollment by lottery and 42 percent of its students living in poverty.

project-based learning

highly creative adults frequently grew up with hardship. Hardship by itself doesn’t lead to creativity, but it does force kids to become more flexible—and flexibility helps with creativity.

When creative children have a supportive teacher—someone tolerant of unconventional answers, occasional disruptions, or detours of curiosity—they tend to excel. When they don’t, they tend to underperform and drop out of high school or don’t finish college at high rates. They’re quitting because they’re discouraged and bored, not because they’re dark, depressed, anxious, or neurotic. It’s a myth that creative people have these traits. (Those traits actually shut down creativity; they make people less open to experience and less interested in novelty.) Rather, creative people, for the most part, exhibit active moods and positive affect. They’re not particularly happy—contentment is a kind of complacency creative people rarely have. But they’re engaged, motivated, and open to the world.

solutions emerge from a healthy marketplace of ideas, sustained by a populace constantly contributing original ideas and receptive to the ideas of others

The age-old belief that the arts have a special claim to creativity is unfounded.

When scholars gave creativity tasks to both engineering majors and music majors, their scores laid down on an identical spectrum, with the same high averages and standard deviations. Inside their brains, the same thing was happening—ideas were being generated and evaluated on the fly.

those who diligently practice creative activities learn to recruit their brains’ creative networks quicker and better. A lifetime of consistent habits gradually changes the neurological pattern.

The home-game version of this means no longer encouraging kids to spring straight ahead to the right answer

The new view is that creativity is part of normal brain function.

“As a child, I never had an identity as a ‘creative person,’ ” Schwarzrock recalls. “But now that I know, it helps explain a lot of what I felt and went through.”

In China there has been widespread education reform to extinguish the drill-and-kill teaching style. Instead, Chinese schools are also adopting a problem-based learning approach.

fact-finding

problem-finding

Next, idea-finding

there is one crucial difference between IQ and CQ scores. With intelligence, there is a phenomenon called the Flynn effect—each generation, scores go up about 10 points. Enriched environments are making kids smarter. With creativity, a reverse trend has just been identified and is being reported for the first time here: American creativity scores are falling.